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Web Show — September, 2021The following 24 artists, who are members of the Appalachian Pastel Society, participated in this virtual groupactivity while “Sheltering-in-Place” at their homes. The artwork they created is shared here. Hugs and best wishesto all until we can meet together safely.APS Adventures in PastelAdventure AAA-3: “Pasteling with Payne”Welcome to our third Pastel Adventure in Series AAA. This challenge is named in honor of EdgarPayne who wrote the classic art book, “Composition for Outdoor Painting”. Now in its 7th Edition,it continues to be studied by landscape painters worldwide. In his chapter on types of composition, he uses several letters from the alphabet to illustrate how they can be used by the artist todesign their composition.In this Adventure we will focus on the letters O, S and L as illustrated in the Adventure Instructions.Step 1: For this challenge, we ask you to choose the letter O, S or L and then incorporate this letterinto your composition. Again, you may want to check out the illustrations to help you make your selection.Step 2: Having selected a particular letter, design your composition so its influence is clearly obviousto your viewers. The subject matter and size of your painting is entirely up to you.Step 3: When finished take a photo of your painting. Please feel free to write out any remarks youwould like to make about this challenge and how it may have impacted your own ideas about designand composition going forward.Step 4: Send the photo of your artwork, title, size and any comments you would like to share to KayGordon (jkaygordon364@gmail.com) by September 22nd at 6:00 PM. Be sure to tell us which letterStep 5: Remember, this deadline is firm and nothing can be posted that is received after 6 PM onSeptember 22nd. Your painting does not need to be in its finished form. This Adventure is to encourage us all in trying new techniques and then sharing the results and how they worked for us.On your mark; get set; PAINT LIKE EDGAR!1

Kathy Amspacher, HendersonvilleGraceful Par 3 11 x 14Uart paper with Terry Ludwig, KarenMarguilis Landscape set of pastels.I chose a photo I took at a local golf course as my reference for this adventure.The "S" was the perfect choice. According to Payne and other sources, it is anemblem of grace and movement, something I rarely characterize when on thegolf course.The painting evolved around a "flat" lateral S. It would be fun to try it on avertical plane.Having grown up with poor vision, I always saw things more in shapes. This wasa natural process for this painting, Very much fun, thank you!2

Jane Best, MorgantonHiding in Plain SightPastelcardMy plan was to use the S design in this painting but Ithink it ended up looking more like an O.The painting is based on a photo I took of an old farmshed in Catawba County, North Carolina.Interesting and challenging adventure.39 x 12

Deborah Chase, HendersonvilleI am not much of a landscape painter.I tried to apply one of these composition designs to a still life.It looked too contrived so I opened my front door and painted what I sawthere.Out My Front Door9.5 x 7.54

Nancy Clausen, SwannanoaThrough the Woods9 x 12Marshlands11 x 14This painting is not finished. I’ve exaggerated the S somewhat to fit what Iwanted to do.The painting I’ve called Marshlands was done using 3 differentphotographs . I’ve used an 11 x 14 Ampersand bord. I used Faber Castell hardpastels for the underpainting.In the marshes themselves, I put in a black underpainting to see what it woulddo. The idea was from taking the Tony Allain workshop. It has an interestingaffect. I used a variety of soft pastels. Some Unison, Great American andTerry Ludwig.It was an interesting challenge.5

Ruth Crowe, Matthews, NCI have chosen the letter “L” for the design of my painting. The Llandscape is probably my favorite design,I chose a mounted 9 X 12 Uart beige 400 grit for this painting.Cades Cove is one of my favorite places, and it is also one of myfavorite painting subjects. It is beautiful all seasons of the year, butthis painting is from a photo taken in June many years ago.I have used the “L” and “S” compositions many times, but have neverfelt successful with the “O”. I will try the “O” in the near future. Foronce, I have a completed painting except for the final tweaking, forthis challenge.Misty Morning in Cades Cove9 x 126

Diane de Grasse, Black MountainSummer Dock7 x 8.25Thanks again for a good challenge.This time I looked at my photos with the 3 compositions in mind and found several goodcandidates.I chose the letter O for this one I’m calling “Summer Dock”. It’s 7x 8.25 inches on ArtSpectrum with hard and soft pastels.The near foliage creates a round window looking to the shoreline, which then closes thecircle. Thanks again!7

Marcia Donley, Zionville, NC"The Painted Lady"(for double "O")With summer winding down, the butterflies are not as plentiful, and theflowers are fewer and fewer. Nevertheless, fall colors are strong.This is a Painted Lady Butterfly on a vivid coreopsis bloom.7x7 on a scrap of Canson watercolor paper with a toned gesso applied.The Painted Lady (for double “O”)7x78

Jennifer Donolo, Burlington, ON, CanadaComposition in ‘L’9 x 12Plein AirPastel on UART 400 SandWest Avenue Cider House at Somerset Orchards, Freelton, OntarioThis is a very good challenge and exercise. It forces one to really address composition anddesign, and to play with that in one's sketchbook, in addition to the notans and valuesketches.Having a composition ‘letter’/tool in one’s mind to start with seems to reduce being overwhelmed by the vastness of the outdoors. Focus is on the big shapes, the structure, of thechosen ‘letter’ composition idea, and the values within it. It is much easier to stay ontrack.While I am familiar with Edgar Payne’s amazing and helpful book, deliberately putting hisguidance into practice more can only improve my work.I had chosen the letter ‘L’ because I knew the site at which I was going to be painting todayhad some remarkable trees that lent themselves to complementing the landscape in an ‘L’design.9

Terrilynn Dubreuil, AshevilleMarsh9 x 12Although it is a bit subtle, I chose the classic"S" composition for this sketch of themarsh.I, obviously, also played with the colors tocreate a unique color scheme.Gotta say, fun was had. Thanks for the challenge!(From my own photo - the black & whiteshows the overlying S")10

Will Evans, FairviewMy submittal, 9 1/4”x 12 1/4” on terracotta colorfix paper, following the“S” curve of the water as it makes its way out to the river.My photo reference is a Charleston Marsh Scene. Named “Spring TideSunrise”Spring Tide Sunrise9.25 x 12.2511

J Kay Gordon, WeavervilleMorning Meditation8x6On black Uart 800On an early morning walk at Edisto Beach one year, I couldn’t resist photographing this fisherman who was enjoying some private time. I don’t expect he took breakfast back to his camp,but not sure that was his intent.The colors before the sun came up were spectacular.My design was based on the reversed “L” created by the man’s body and the dark strip ofsand he was standing on.I created the drawing with a white charcoal pencil, using my laptop to view the photo image. Iused a variety of pastels that included Terry Ludwig, Sennelier and Creatacolor.12

MaryAnn Grib, Gray, TNI chose the "L" design and used a reference photo from a recenttrip which I also had a sketch of.I experimented with a new surface - Bristol board that I primedwith clear gesso and used a pale green underpinning.The finished piece is 11x14 and I'm calling this "Restful Place".Restful Place14 x 1113

Alec Hall, HendersonvilleThanks for this exercise in compositional choices. While I start all of my paintings bychoosing a composition that I hope will highlight the image that I have selected topaint, I frequently use the rule of thirds in a rectangular configuration as mycompositional arrangement. For this challenge, I chose the “circle”, which is acomposition that I have never worked with before.The Red Nebula 8 x 8UART black—500 gritWith all the recent private space flights in the news lately, I selected an other-worldlysubject for my image a colorful, nebula.This subject also allowed me to play with a new surface UART Black. While thesurface texture was what I was familiar with, I discovered that the paper color wasactually more like a dark charcoal gray and not a true black; thus, I still had to use blackin my background to exaggerate the contrast with the galactic colors.14

Kathy Hutchinson, Rutherfordton, NCI chose an 'S' composition.in my photo not only was there a path in the sand of thebeach but it was also in the color of the clouds.I don't think I painted as prevalent in the clouds as my photo.Dog Walker’s8 x 1015

Lynn Jackson, BrevardSummer Day8 x 14I had my second hip surgery this week and have not felt like workingwith my pastels.I did this painting for last month’s Plein Air series which shows theuse of the letter S in the composition and wanted to share it with theAdventure series.Thanks.16

Karen Knaub, Lake LureOn Pastel Premier Buff medium gritAnother fun challenge. I suppose that now I will be seeing letters every where outside.I chose the letter O as I could immediately see an O in the break of clouds when iwas going thru my photos.Just Beachy8 x 1017

Cindy Lidd, AshevilleFalls Creek Canyon9 x 12Attached is my painting "Falls Creek Canyon", 9x12 on 600 grade Uart.I chose the "s" pattern for my painting. Thanks.18

Margaret Lyn-Soroken, Black MountainTree on the Edge13 x 9Medium: pastels on paperI did this from photo I took on a hike and wanted to show lonely tree on the edge of drop off.The composition fits in the L shape.Thanks for the challenge.19

Meryl Meyer, WeavervilleTeintes Canson Paper /rough sideI chose an “O” composition. I usually lean towards an “S “ composition. I chose a florallandscape.I attempted to lead the eye around from flower to flower. I am not sure I succeeded. I usedthe light on the petals of the flowers to lead the eye.Schminkes were used for finishing touches .I usually struggle with Canson paper, which made this even more of an adventurebut the more I use it the more I learn how use its texture. It works better with soft pastelswhich I can lightly blend and push into the paper.It does not have much tooth.I would like to try more florals on Pastelmat paper.Every adventure is a learning experience. I used Schminke, Blue Earth, some Terry Ludwigand Great American Artworks.Zinnias in Bloom: A Study6x920

Gary Rupp, Black MountainCoastal Marsh16 x 20For this Adventure I chose to use Edgar Payne's composition based on the letter"L".In addition, I decided to use some of the painting tips shared with us by Tony Allainat the APS September Zoom Meeting. I especially wanted to try some of his boldmark making and his vibrant use of color.Combining these two artists was a real stretch for me but I found it was an excitingand helpful exercise in a whole new style of painting.21

Susan Simmonds, Petaluma, CAFirst let me thank you, Julie B and everyone involved in putting the Tony Allainworkshop together. I’m so happy to have been a part of it as a new member. It wasgreat- wished it could have gone on all weekend!I am attaching a 6x8 sketch on Strathmore sketchbook paper of an “O” landscape .Not sure if a wave counts . If not let me know and I’ll do another.Oh/O here comes a big one!6x822

Andrea Stutesman, Black MountainFields a Glow9 x 12Medium: Unison and Sennelier soft pastelsPaper: UArt 400Size: 9 x 12I enjoyed this challenge. I looked through 100’s of photos to find one that I think meets the criteria. This is a scene from a photo I took in Portugal at a vineyard. I wanted to paint it 3 years ago,but felt overwhelmed just looking at it. I at least I attempted it.23